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拍品專文
The image of Mary Magdalene was one of Guido Reni's most depicted subjects and he painted the saint in dozens of variations. The flowing, golden hair and red mantle are instantly recognizable as the Magdalene's attributes and here she is represented in bust-length, her hands crossed over her chest and her eyes raised heavenward. Though a halo of light radiates from her head, the background is otherwise simple and unadorned, suggesting that this work was intended for quiet contemplation.
At the time of the painting’s sale in 2012 (see Provenance), the attribution to Guido Reni was endorsed by Daniele Benati, Andrea Emiliani and Nicholas Turner, and was subsequently independently confirmed by Erich Schleier (written communication, 25 July 2023). Dating to the 1630s, the painting is perhaps best compared to the Penitent Magdalene of circa 1635-40 in the Kunsthistoriches Museum, Vienna (fig. 1). The model’s slender nose and plump lips are almost identical to those features in the present painting and she is similarly shown in three-quarter profile, though in the Vienna canvas she faces right and leans on her hand, her eyes focused on the crucifix in front of her.
At the time of the painting’s sale in 2012 (see Provenance), the attribution to Guido Reni was endorsed by Daniele Benati, Andrea Emiliani and Nicholas Turner, and was subsequently independently confirmed by Erich Schleier (written communication, 25 July 2023). Dating to the 1630s, the painting is perhaps best compared to the Penitent Magdalene of circa 1635-40 in the Kunsthistoriches Museum, Vienna (fig. 1). The model’s slender nose and plump lips are almost identical to those features in the present painting and she is similarly shown in three-quarter profile, though in the Vienna canvas she faces right and leans on her hand, her eyes focused on the crucifix in front of her.